barefoot_dp

Yes - exactly what I meant about the forced design choices. Want even the most BASIC functionality? No problem, buy our monitor for an extra $3000! It Iooks like they're offering a side handle without controls but it looks terribly awkward. I'm also not sure if any of the ports would even allow an active handgrip to be added (Maybe the EXT port?) as an accessory. And if that's the case it means there will be no way to start/stop recording or adjust exposure (for any price) without taking one of your hands off the camera (or having a 2nd person do it). It's ok for tripod use, I guess.

That's what confuses me so much. If they want to make a solo-operator camera, do it! Put the controls where you can reach them, for a start. This thing looks like they copied a whole bunch of features from different cameras without realising WHY those cameras made those choices in the first place - Shape from the Z-Cam (but all the sensible mounting points are now fans instead), RF mount from C70 (even though a large portion of the user base will want PL), AC panel from the Venice (at the expense of operator-side controls), minimal buttons like an Alexa Mini (but susing an electronic lens mount which now cannot be controlled from the operator side), etc. If feels just eerily similar to Apple's forced design choices: "We've purposely designed this product poorly so you'll have to buy more accessories from us". Either that or it's built by someone who has never actually used a camera. The price is nice compared to the Monstro though, and of course the image will be top-notch - I'm not going to argue with that.

I'm sure the images from this will be fantastic, but - to quote Ellen Ripley - did IQ's just drop sharply while I was away? This camera seems to be completely at odds with itself. All the controls are on the dumb side - implying it's made for crews with an AC. Ok, so then why prioritize RF mount with AF, over PL/MF? Why make it so hard for the operator to reach or see the controls? Or even the record button? Where are you supposed to put your handles? On the side it will block the AC panel, and on the top you'll get a constant blasting of hot air. Same goes for shoulder-mounting - not very fun at all when you've got the camera breathing hot air in to your ear all day. It's a small brick/brain designed to be modular but the placement of everything means you can't mount anything where you want/need, defeating the purpose of having a small modular body. Not to mention that none of your previous red accessories will work on this one. Time to buy new lenses/adapters, handles, media, etc. What ever happened to making obsolecence obsolete? Who knows, maybe I'm wrong and this actually is what most DOP's actually want in a body design. All the fanboys will eat this up but to me this just kind of feels like the episode of the Simpsons where Homer's brother lets him design a car.

I think that should replace the current description of Moore's Law!

I'm sure that will change soon now that the Premiere native support update is out, but I still think that most of the positive reviews so far are just paid ads or hype. There seems to be a lot of hyperbole around, and I'm guessing it is either a) people who got early access/free hardware in exchange for a good review, or b) people who have only ever edited on $1000 laptops so have pretty low standards. I've not seen anything yet that gives something close to a usable comparison, along the lines of "the M1 with 16GB RAM will perform about the same as an i7-xxxxx with xxGB RAM and an RTXxxxx when running Premiere Pro". And whenever there is a tendency to shy away from those comparisons in a review, it tends to stink of selective non-disclosure - particularly in the computer world where EVERYTHING is bench-marked and tested endlessly.

I'm using Adobe Premiere. Occasionally After Effects for motion graphics. For editing my own footage, my current machine is mostly fine because I'm shooting Prores (Z Cam). I started off more as an editor, so I tend to prioritize edit-friendly cameras for my own purchases. However others don't do this so much, and the latest gen of cameras (R5, A7sIII, C70) are going to be a much bigger strain for editing supplied footage. I'm not always editing my own work either - I've just started as lead editor an 8x22min series and the footage supplied is a mix of Red, Blackmagic, GH5 and GoPro. This is going to be tough for my current system, though thankfully I'm not having to deal with those latest codecs just yet. I'm trying to avoid proxies for this one as we'll be bouncing projects around between editors quite a bit, and I don't want things going offline constantly when switching between different machines.

That was another thing holding me back slightly - I did have a good look at the M1 and considered it, but it's hard to cut through the hype and figure out whether it will actually do what I need. I decided it probably would not, but I also agree that Intel will answer with something soon, and at much more professional levels (and I'm sure Apple with have more professional options or an M2 very soon, but if I was happy to pay $8000 for an editing machine then I wouldn't be asking the question about current video card prices!)

Hi all, Just wanting to get a bit of perspective before upgrading my workstation. It seems the price of GPU's has skyrocketed lately and from the reading I've done it seems like it's a combination of a) new import laws in the USA which have ripple effects around the globe, and b) scalpers hoarding them to drive the prices up, and c) covid lockdown meaning people are staying home to play videogames. Does anyone know if this price pressure is something that's likely to ease in the next 6 months or so? Perhaps as supply/demand starts to level out? Or is this simply the new normal where a GPU is going to cost more than what an entire editing setup used to? I'm getting close to updating my current workstation (built in 2016 to last me until the end of the HD era - but now happily cutting up to 6K prores), but I'm really not keen to spend $1500 on a video card if prices are going to drop sharply in a few months. For reference, I'm looking probably leaning towards a build with i7-11700K, 64GB ram, and RTX3070. I'm currently on a i7-6700K with 32GB and GTX1060.

Nobody tell him what an Alexa LF costs!

Z Cam have. Though it's nowhere near as good as the Sony implementation.

Seem pretty easy to me. If you get the FS7 for it's gun-for-hire appeal, you can still use it for self-produced client work as well. If you get the 6K for self-produced client work, you'll probably miss out on a lot of gun-for-hire work.

This is partly the reason I'm thinking I might get a FS150 instead of another FS300 - so I have the option of using a less noisy unit if I'm ever forced to shoot in a cramped space really close to the subject. So far I haven't noticed it on an actual shoot, but I did notice it when recording myself in my garage (small space, lots of concrete walls, etc. I'm sure you're far more sensitive to these things than most of us here though!

Don't forget it also needs to have a bigger, more comfortable grip, larger capacity battery, and SSD slot, and SDI port, and all in a body smaller and lighter than the current one 🤣

Nice! I think I'm going to get an FS150 to compliment mine.

Well I've done a tonne of research and I think I've actually come back full circle to the projection lens. I was previously leaning towards getting some barn-doors and using cookies/flags, but that still seemed like a lot of extra gear (and space) dedicated to reducing spill. I think I've figured out what that I need: Godox SA-P Projection Attachment (which comes with an 85mm lens) Godox SA-17 Adapter (which makes it fit on to a standard bowens mount) Selection of Godox Gobos This seems like it will do what I need, based on what reviews I could find, although I do wish it was available somewhere as a full kit rather than having to buy all the components individually - I just hope I'm not missing something.

It's because they brought out a camera that competed with current gen, rather than improved on it. It didn't have better AF than the C100mkII, or better internal raw than the C200, or an easier codec to edit than the FS7. It was billed as being the "smallest & lightest" cinema camera, but because you basically had to add an extra monitor, that advantage immediately disappeared. While it competed with the FS7 on features (with a better image too), everyone who needed those features had already bought an FS7. And everyone who needed a better image than the FS7 had already moved on to Red/Arri. I also think because it came fairly late in that generation of cameras, people knew that waiting another couple of years would deliver a lot more. Now at a similar price point we have the FX6, C70 and Komodo (among others) which have made the EVA1 largely irrelevant.

That was at about F4 I think. ISO1250, 1.7 stops ND (because the ZCam eND doesn't go below 1.7 stops, I mostly shoot at the higher native ISO of 1250 rather than remove the ND) This setup was borderline due to being a wider shot, but I've since used it on some more typical head-and-shoulders type interviews and in those situations where you can get much closer, it really lets you stop the overexposure in windows.

That's the bit I'm struggling with - the further the light is from the cookie, the more spill there is and the more flags are required. This isn't a problem if there's a grip truck on standby but there's a limit to how many c-stands I can take to a shoot as a one-man-band!

These are the type of background effects I'm trying to acheive (although in my case talent would be lit separately - this is for use in interviews or explainers videos where I'm trying to get a bit more interest into an otherwise bland background). I wonder if mirrors would be a better solution than cookies? That way any spill would be going away from my background and would be easier to control.

Hi all, Just looking for advice on what options there are for background lighting modifiers - particularly adding shapes like windows/blinds or streaks for emulating direct sunlight. I know the "proper" method is to use cookies but that way seems like it would need a lot of flags? I don't really want to have to setup 4 extra C-stands to flag off the spill on all sides, so would much rather something that mounts on the front of a light (bowens mount). Has anyone used used any of the various projection lenses or can explain a bit better how they work? There doesn't seem to be too many of them available and those that are on the market seem to assume that whoever is looking for them knows exactly what they want, because nothing is giving me a good explanation of what I actually need! What are the components I'd need to put in front of a bowens mount mono-light LED to get some nice hard-edged light streaks/patterns on a background from 10-20 feet away? And is there any way to do this without paying ~$500 for a lens projection kit? Anybody able to offer their two cents?

I have taped a lav to the underside of a cap before for fitness stuff. Might look a bit odd indoors though.

This is why I bought the Nanlite over an Aputure. Sure, with Aputure you might be paying for more brand recognition and longevity - but at the rate we're moving all these lights are going to be obsolete in a few years anyway. I'd rather spend AUD $500 on something that breaks in two years, than $2000 on something that I can't even flog for half of that after that same two years. I think we're just seeing the beginning of affordable LED's, and in another couple of years we'll really be spoiled by choice. Already there's 1200W fixture announced from Nanlite, and I'm sure a few others will be looking to compete in the same space soon too.

Used it on a shoot for the first time today. I was slightly worried about the fan noise beforehand but didn't even notice it on set. Certainly not enough to make me want to perform surgery on it and if there is any hum in the recordings, it should be nothing that a bit of noise reduction can't fix. I had a setup that was pretty much worst case scenario - a moderately wide shot looking out a window in to midday sun on a very bright day. It maxed out the FS300 but I was able to get a decent amount of wrap and fill on the subject. Lost the sky due to shooting in Rec709 (client request) but managed to keep most of the detail in the trees. I feel like if it had been log I could've saved the sky... maybe. It's a lot of light output for the price!

My FS300 arrived a few days ago and I've tested it out ahead of a shoot tomorrow - this thing is BRIGHT! However, one thing I already dislike about it is that there doesn't seem to be any way to 'exit' the menu. So one little bump of the menu dial can turn on the SFX modes. Has anybody found a way to exit the menu so that the dial is not always 'hot' if that makes sense?

Maybe take a look at the Panasonic DVX200? I think you'd need an external recorder for 10-bit though.